The New Cinematic Travel: How Movies and TV Are Redefining European Escapes
There’s something undeniably seductive about the idea of stepping into a movie scene—not just watching it, but living it. Set-jetting, the trend of traveling to destinations featured in films and TV shows, has been around for decades. But what’s happening now feels different. It’s not just about visiting a famous location; it’s about immersing yourself in a world that feels both familiar and utterly unique. Personally, I think this shift is about more than just fandom—it’s about the desire for authenticity in an increasingly homogenized travel landscape.
Take Sicily, for example. When Francis Ford Coppola moved his Godfather production to the hillside villages of Savoca and Forza d’Agro, he didn’t just create iconic scenes; he gave Sicily a cinematic identity that still resonates today. What makes this particularly fascinating is how The White Lotus Season 2 doubled down on this legacy, introducing a new generation to the Etna wine country. But here’s the thing: it’s not just about sipping wine where Michael Corleone once stood. It’s about the volcanic soil, the nerello mascalese grapes, the way the land itself feels like a character in the story. Staying at Monaci delle Terre Nere, a converted monastery turned wine estate, isn’t just a luxury—it’s a way to connect with the history and terroir that make Sicily so compelling.
From my perspective, this is where set-jetting gets interesting. It’s no longer about ticking off a checklist of famous spots; it’s about diving into the why behind a place. Why does Venice feel like the ultimate backdrop for art lovers? Sure, there’s the Biennale, but it’s also the city’s ability to blend the old and the new, the grand and the intimate. The St. Regis Venice isn’t just a hotel; it’s a gateway to understanding how Venice has always been a stage for global creativity. And dinner at Airelles Venezia? It’s a reminder that even in a city as iconic as Venice, there’s always something new to discover.
One thing that immediately stands out is how set-jetting is pushing travelers off the beaten path. Slovenia, for instance, isn’t typically on the radar for foodies, but Ana Ros’s Jaz in Ljubljana is changing that. What many people don’t realize is that Slovenia’s culinary scene is deeply rooted in tradition yet wildly innovative. David Lesar’s BioSing cellar, where salamis are aged by the moon, feels like something out of a fairy tale. It’s not just about the food; it’s about the stories, the craftsmanship, the way Lesar’s work connects to a centuries-old tradition.
This raises a deeper question: What does it mean for a destination to be ‘discovered’? Puglia, for example, has been on the radar for years, but it’s still managed to retain its authenticity. Tenuta Negroamaro, with its red-soil gardens and slow pace, feels like a world unto itself. It’s not just a place to stay; it’s a way to experience the region’s agritourism movement, which is as much about sustainability as it is about luxury.
Amsterdam, on the other hand, is a city that’s constantly reinventing itself. The Rosewood Amsterdam, housed in the former Palace of Justice, is a perfect example. Its art collection, curated around themes like Re-Masters and Urban Art, isn’t just decoration—it’s a statement about the city’s role as a cultural crossroads. What this really suggests is that set-jetting isn’t just about the past; it’s about how destinations evolve while staying true to their essence.
Belgrade and Edinburgh offer two very different takes on this idea. Belgrade, with its layered architecture and the newly restored Bristol Hotel, feels like a city on the cusp of something big. It’s not just about its cinematic history; it’s about its spirit, its resilience, its ability to blend the old and the new. Edinburgh, meanwhile, is a whisky lover’s dream, but it’s also a city that rewards slow exploration. The private room at Johnnie Walker Princes Street isn’t just about tasting rare whisky; it’s about understanding the stories and craftsmanship behind every bottle.
If you take a step back and think about it, set-jetting is about more than just travel—it’s about storytelling. Whether it’s Sicily’s volcanic wine country, Slovenia’s lunar-aged salamis, or Edinburgh’s invitation-only whisky rooms, these destinations aren’t just places; they’re narratives waiting to be experienced. In my opinion, that’s what makes this trend so powerful. It’s not just about seeing the world; it’s about understanding it, one cinematic escape at a time.
Conclusion:
Set-jetting in 2026 isn’t just a travel trend—it’s a cultural phenomenon. It’s about seeking out the stories, the traditions, and the hidden gems that make a place truly unique. As someone who’s always been fascinated by the intersection of film and travel, I can’t help but feel excited about where this trend is headed. It’s not just about following in the footsteps of our favorite characters; it’s about creating our own stories, one destination at a time. And honestly? That’s the kind of travel I want to be a part of.
